It contains some of Lamar's best writing and performances, revealing his evolving complexity and versatility as a soul-baring lyricist and dynamic rapper. is just as lavish and singular as the preceding albums, its quantity and weight of thoughts and connected concepts condensed into a considerably tighter space. There's relative concision in the track titles and material, and a greater emphasis on commercial sounds - such as Mike WiLL's lean and piano-laced trap beat for the strong-arming 'HUMBLE.,' Lamar's first Top Ten pop hit, and a couple productions that are merely functional backdrops lacking distinction.

on the surface seems like a comparatively simple rap album that demands less from the listener. Compared to the maximum-capacity, genre-twisting vastness and winding narratives of Good Kid, M.A.A.D. He's too occupied tracing the spectrum of his mental states, from 'boxin' demons' to 'flex on swole,' questioning and reveling in his affluence, castigating and celebrating his bloodline, humble enough to relate his vulnerabilities, assured enough to proclaim 'Ain't none of y'all fuckin' with the flow.' Throughout, he intensely examines most of the seven deadly sins, aware all along that his existence is threatened by anyone who objects to the color of his skin or clothes - or, in the case of the blind stranger who shoots him during the album's opener, nothing that is apparent. If Kendrick Lamar felt pressure to continue living up to his previous output, there's no evidence on DAMN. To Pimp a Butterfly's proper and oft-biblical follow-up arrived on Good Friday, 13 months after untitled unmastered., an intermediary release that eclipsed the best work of most contemporary artists. Purchase and download this album in a wide variety of formats depending on your needs.

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